Trey’s Guitar Rig for Riviera Maya 2017 was unchanged from MSG 2016-17, which is not too surprising, given the extent of upgrades that went into the MSG re-build and the fact that Trey seemed to really dig the tones he was getting from the new setup. Check out photos and details below.
Amplification: Trainwreck Komet 60 (x2) — Rhythm amp has NOS Phillips 6L6 tubes; Lead amp has NOS Mullard EL34 tubes. Bruno Speaker Cabinets(x2) loaded with Celestion G12-65 Heritage Speakers. Victoria Reverberato. Leslie G-37 guitar rotating speaker.
Guitars: Koa #1.
Floor Pedals: Beigel Tru-Tron; Boomerang, Whammy II, CAE RS-10 Audio Switcher (see here for signal chain), Crybaby Wah, Ernie Ball Volume, Lehle Little Dual Amp Switcher, Boss FS-5 switches.
Rack Pedals: 2 x TS-808; Way Huge Supa Puss; Shin-ei Uni-Vibe; Klon Centaur; Alesis Microverb.
Rack (from top): Furman Power Conditioner, Korg DTR-2 Tuner, Ibanez DM-2000, TC Electronic D-Two, 3 x CAE 4×4.
Mics: Trey’s rig is mic’d by a Shure SM-57 and a Royer SF-12.
Below, you can see that the top Komet is labeled A-6L6 and the bottom one is labeled B-EL34, and that these markings are mirrored on the Lehle Little Dual Amp Switcher (the red pedal on the floor)
Below is a shot of the rack. You can see labels affixed to the pedals that correlate them with numbered loops in the CAE RS-10 floor controller. They’re consistent with the signal chain we laid out for MSG. For more on signal chain, see here.
Below is a look at the floor array, which includes the Beigel Tru-Tron, the Whammy II, CAE RS-10 switcher, Crybaby Wah, and Boomerang. Plus a Fender-style reverb/tremolo pedal to control the Victoria Reverberato. Also, 5 x Boss FS-5 switches: (1) “once” pedal for the Boomerang; (2) tap tempo for the Supa Puss; (3) mutes for the DM-2000 digital delay; (4) and (5) control the Leslie G37 (on/off & fast speed/slow).
And finally, the Leslie G-37, the Bruno cabinets, Koa #1, and the SE Electronics GuitaRF filters.
Trey's Guitar Rig 
Does anyone know the functions of the RS-10 now with the changes made in the Rig?
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Same function as always; it activates loops that contain various effects. See the signal chain here: https://treysguitarrig.com/treys-signal-chain/
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Let me rephrase that question for captain obvious here. Is the RS-10 still controlling the Mod and Hold Functions of the DM2000?
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Not sure how anyone could have read this question into your first one, but in any case there are still dedicated controls for Mod and Hold on the RS-10, in addition to the 8 loops. Thanks for reading my site, and please be kind to people in my comments section.
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Thank you sir.
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No problem. I’ve just updated the signal chain page with some close ups of the RS-10 that show what each button does. Enjoy!
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You are awesome. Thank you.
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A couple of questions here…any insight on the 808’s? They don’t LOOK modded. As well, with the lehle set to two different tube settings (one amp 6l6, one amp el34), it has me thinking that trey used to use the el34s in the Mesa back in the day. However, all/most pics show the amp at half power, negating the el34s. Was he using them? Or he just likes them now? I don’t think my ears are fine tuned enough to hear the difference. If you have examples of trey, pls share.
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So the Ross is gone, is the klon making up for it as a clean boost. I’m not familiar with the pedal. Is compression coming from the 808-klon combination?
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There is currently no compressor in the chain, but humbucking pickups and tube screamers do tend to compress a bit.
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So is there no more comprossor??
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It’s out of the chain at the moment. Stay tuned!
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But how?!?!? It sounds so much like it is still there!!! Whattt?!?! This doesn’t make any sense
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Anyone have any insite on Crybaby mods that will replicate Trey’s mysterious Wah? I mean specific alterations of electrical components to a Dunlop Crybaby.
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I have a question about the loops. So I see that trey runs the whammy and mutrin in the same loop back to the rack. Yet they are both on the floor. Does that mean the lines running in and out of the loop are really long? If so is he running a buffer at all? I’d have to imagine it’s a 20 foot run. Any ideas?
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I’m pretty certain that Trey’s guitar hits the buffer in the CAE Switcher at the input, which would allow for long runs without any tone loss, and that long cable run would be out of the chain when the whammy/mutron isn’t in use….
not sure if he goes directly into the wah and then into the CAE switcher/buffer, or into the CAE buffer directly, then out to the wah and back before loop 1.
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The Whammy also has a powerful boost circuit that would compensate for some cable runs. There’s a volume dial near the inputs that controls it.
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Thanks. I was just noodling it out and finally decided that it had to be a long run and the CAE’s buffer was kicking in. One of those things that kept nagging me….lol
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Do you know if he plugs directly into the wah, then into the CAE switcher/input buffer? Or the switcher/buffer first and then out to the wah?
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Chain is here: https://treysguitarrig.com/treys-signal-chain/
Wah is first.
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Is there any more info about why the Ross is gone? It’s an interesting change. Did not expect that.
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How is Trey using the Microverb? As an always on tone enhancer, for leads, for the more spacey tone? Any examples where you know the microverb is being used (in recent years)? I figure, if he is keeping it up top, he uses it more than I expect and tweaks it a lot too.
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I think it’s frequently on; but there’s a space for it in the CAE, so he has the option to cut if off.
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I have an Alesis Microverb that I use on Reverse at the same settings. When the signal is clean it sounds like a verby delay, but when used with overdrive it is much more subtle a delay and adds a richness to the overdrive. Therefore, I believe he uses it mostly for leads. It also works well for a Jerry Garcia like light delay because of the added reverb.
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